We knew the London production of Harry Potter and the Cursed Child had entranced the British critics, the question was would the Broadway version cast the same spell over American reviewers? The answer clearly was ‘yes’.

So what was it that bewitched them?

There were five spells that the show cast. First, no matter how much we theatregoers might want to judge Harry Potter And The Cursed Child purely as a stage play, we can’t avoid the legacy of seven novels and eight films.

The Harry Potter Legacy

‘The story begins where the final novel in the Potter series… ended’ pointed out the NYT. Chicago Tribune described it as ‘an immersive coda to the most powerful literary brand of a generation’.And many of the critics were happy with this:‘the show has a plot that really works as an extension of the Potter saga’ said Variety.‘an unprecedented extension of a beloved world is making something so impossible feel so much realer than it ever could be’ said Entertainment Weekly.Some were worried that only those familiar with what had gone before would enjoy the play. The Guardian said it ‘will deeply perplex anyone who hasn’t read the delightful books or seen the so-so movies’.But others were confident you didn’t have to be a Potterhead.Hollywood reporter pointed out: ‘there’s … a universal dimension to the human drama here – the challenges of parenting, the conflict between fathers and teenage sons burdened by intimidating legacies, the sustaining force of love and friendship, the eternal grip of the past – that will prove poignant and meaningful even to audiences unversed in the wizarding wars.’amNY went so far as to say, ‘a theatergoer with no prior “wizarding” experience should still be able to have a great time – and may even find the show more enthralling than would a longtime fan who already knows the “Harry Potter” universe inside and out.’

The storytelling

Secondly, there was the story, which came from JK Rowling and director John Tiffany and was scripted by one of my favourite playwrights Jack Thorne.‘The script has more variations on father issues than the entire canon of Greek tragedy’ said the daddy of theatre critics the New York Times’ Ben Brantley.The Hollywood Reporter was impressed by the ‘pulse-pounding storytelling vitality and … unexpected emotional richness’.The Chicago Tribune said ‘it was a must-see, totally enveloping, thoroughly thrilling chance to experience the global power of shared storytelling at its most robust.’Entertainment Weekly found that it ‘unlocks new points of view, particularly in the show’s climax, that are wholly unique to this play, unable to be replicated no matter how countless one’s consumption of the books or movies’.New York Stage Review reckoned ‘they might as well send out the 2018 Best Play Tony Award for engraving already’.Variety described it as ‘theater that shows us the true magic of great storytelling’.

It’s proper theatre

And that’s another thing that the theatre critics loved about Harry Potter & The Cursed Child. It’s proper theatre. As the New York Times put it: ‘By contrast, most of the family-courting stage versions of animated films that have ruled the theater district for so long look as stiff and artificial as parades of windup toys.’

Similarly The Wrap contrasted it with ‘the stage versions of “Mary Poppins” and “Chitty Chitty Bang Bang” (which) dumbed the imagination with their literal interpretations.’

Variety summed it up by saying ‘the theater has brought its own brand of wizardry to the material’.The Hollywood Reporter loved its ‘Thrilling theatricality’.It was, in the Chicago Tribune’s eyes, ‘a feast of epic theatricality in celebration of the imagination (that) manages to be both extraordinary and old-fashioned theatrical fun’.The Daily News went on a similar tack: ‘What’s so wondrous is how low-tech stagecraft brings such high-definition delight.’The Hollywood Reporter agreed: ‘The ingenuity on display, often using the simplest means, is dazzling.’Time Out said, ‘Great care has gone into creating each moment of this state-of-the-art adventure. It leaves its audience awestruck, spellbound and deeply satisfied.’

Many critics name checked the entire creative team. Here’s The Washington Post: ‘Director John Tiffany and his longtime maestro of movement, Steven Hoggett … have created a dynamic pair of evenings replete with ahhhh-inspiring tricks and illusions overseen by the ingenious Jamie Harrison. (Christine Jones’s swirling breakapart set pieces and Neil Austin’s lighting effects are marvels, too.)’

‘Given what Cursed Child’s design team has accomplished on a technical level,’ said Entertainment Weekly, ‘Broadway will never be the same.’ And while that publication went all apocalyptic, The New York Times went all philosophical: ‘”I am paint and memory,” a talking portrait of the long-dead wizard Dumbledore says […] Well, that’s art, isn’t it? Substitute theatrical showmanship for paint, and you have this remarkable production’s elemental recipe for all-consuming enchantment.’‘The stagecraft on display is unlike anything I’ve seen, with magical moments taking your breath away at every turn,’ said Newsday breathlessly.

Time Out joined the chorus of approval with a concise phrase surely destined for the posters: ‘A triumph of theatrical magic’

It’s magic

Sam Clemmett and Anthony Boyle in Harry Potter And The Cursed Child at Lyric Theatre New York. Photo: Manuel Harlan

Magic. That’s the word that- inevitably you might say- comes up again and again. The Hollywood Reporter called it ‘sheer magic’.‘It contained’, said the New York Times, ‘some of the most eye-boggling illusions you’ll ever witness’. The review goes on to say it sets ‘the new gold standard for fantasy franchise entertainment on Broadway’. (Maybe, like me, you didn’t know ‘fantasy franchise entertainment’ was a separate genre but you do now.)Entertainment Weekly named the wizards responsible: ‘The show’s illusion and magic designer Jamie Harrison and special effects chief Jeremy Chernick are certain geniuses.’

The cast

The fifth and final spell was cast by the cast.

‘The leading actors are jolly good,’ said the Washington Post, subtly referring to the fact that many of the cast are from the original English production.

Coming in for particular praise was Anthony Boyle as Draco Malfoy’s son Scorpius who, said the New York Times, gave ‘a show stealing performance’. Variety called him ‘brilliant’.The Chicago Tribune said he was ‘fabulous’, adding that his ’emotional energy empowers the production’.Entertainment Weekly along with many others was impressed by Jamie Parker as the grown up Harry: ‘the actor excels at showing this grown-up Gryffindor as a brave but stunted man, outwardly successful but inwardly tormented’. It was, said The Hollywood reporter, ‘A finely nuanced performance, with gravitas and heart’.Noma Dumezweni wowed the American critics as much as she previously impressed the Brits in London. Entertainment Weekly said she ‘stuns as a Hermione who is both cold and warm, hardened by politics, softened by parenthood, a brilliant enigma dealing with the frustration of a problem she cannot solve’.

The power and limits of love

So there you have it. A show that, thanks to its story, its theatricality, its magic and its cast, transcends its literary and cinematic origins to become a classic piece of theatre in its own right, and that, in the words of the Washington Post,‘will be inducing swoons in Times Square for years to come’.

I’d like to end with a quote from the Chicago Tribune that seems to me to get to the very heart of why this is so much more than a mere Harry Potter spinoff: ‘you’re struck by the great beauty of both the theater and the people inside, all thinking and feeling as one about the power and limits of love’.